Bursting with colour, overwrought with emotion and rich in symbolism – the grandiloquent works of the Pre-Raphaelite Brotherhood leave the Tate to enliven the walls of the NGA in an exhibition powerful enough to convert even a non-fan.
Surprisingly, proximity to Patricia Piccinini’s unsettling hybrid forms brings the darker themes of painter Joy Hester’s work to the fore, in the joint exhibition Through love... at TarraWarra.
The 9th Asia Pacific Triennial of Contemporary Art in Brisbane eschews the Western art world’s reliance on checkbox diversity in favour of genuine immersion in our region.
Two exhibitions recently opened at Hobart’s Museum of Old and New Art highlight the ability of works to create new hypotheses. They also prompt viewers to ponder fiscal imperatives and the so-called ‘MONA effect’.
Diverging from the usual blockbuster formula, Masters of modern art from the Hermitage excites with its rich selection from the holdings of Sergey Shchukin and Ivan Morozov.
Steven Rhall’s exhibition Defunctionalised Autonomous Objects addresses the way colonial societies have exhibited Indigenous art and culture, and makes its audience face their previous comfort with it.
Open Window, presented by the collective of Gavin Bell, Jarrah de Kuijer and Simon McGlinn, is a puzzle of objects as empty vessels within spaces divided by open wall frames.
In Supernatural, the latest exhibition from Judith Neilson’s monumental collection of contemporary Chinese art, works about nature are, like their subject, informed by tradition but transformed into wholly modern visions.
MoMA at NGV: 130 Years of Modern and Contemporary Art provides an engaging and broad survey of how we have sought to understand the negotiation between technology, nature and our humanity.
A 30-year retrospective of Ronnie van Hout’s work includes a dazzling variety of distorted sculptural and filmic self-portraiture, with the effect of interrogating what is real.
